ABSTRACT
Concentrated suggestion and hypertrophied emotionality (that was supposed to emphasise the personality of the performer) became the most significant features of the Romantic performance. In the Romanticist perception that has been evident since Beethoven's time, the subject of the enunciate has usually been confused with the subject of the enunciation; thus, the authors have certain themes in many musical works that are often (mis)interpreted as representations of composers; real-life actions or acquaintances. The analysis shows that a gesture may address the musical work itself, but not only and not necessarily: it could also refer to the performer, to the audience or to another type of context (which may not even be present or perceivable at that very moment). It may happen that the sounding interpretations their expressivity, performance gestures and characteristic details or manners that portray a certain mood and emphasise a variety of musical nuance; could open up new interpretative spaces and offer new topics born in performance.
